Daisy Ridley talks Magpie; Nick Castle Talks Halloween & Michael Myers

Transcript

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In this spooky episode of pop Culture Weekly, It's Halloween.

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I talk with Michael Myers himself, Nick.

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Castle, end Ray herself from the Galaxy Far Far Away,

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Daisy Ridley.

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Let's go.

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Welcome to pop Culture Weekly with Kyle McMahon from iHeartRadio

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your pop culture news, views, reviews and celebrity interviews on

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all the movies, TV, music and pop culture UKRABE Weekly.

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Here's Kyle McMahon, Nan Nana no.

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Hello, and welcome to pop Culture Weekly with Kyle McMahon.

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I of course am Kyle McMahon, and it is another

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October episode that means Halloween.

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You know, that's my.

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Favorite day of the year. It's my favorite time of

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the year. I love horror, I love spooky season, and

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this month I feel like we've been bringing all the

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great you know, spooky people out, spooky content, horror movies, thrillers,

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just you know, getting it all up. Last episode we

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had Bruce Campbell, who's so amazing. We talked about Hysteria

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and Teacut, which is this terrifying series on Peacock. It's

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just been oh and Kado Lake, the m Night Shyamalan

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produced film that I talk with Dylan O'Brien and Eliza

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Scanley such just such great content, and this episode is

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no different. I talk with the Shape himself, the original

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OG Michael Myers. Yes, I talk with Nick Cassel all

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about Halloween, which is out in theaters right now, with

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a couple of the sequels as well. And then I

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talk with Ray Daisy Ridley. Yes, Daisy Ridley, I talk

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about her brand new film called Magpie, which is really

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really really creepy and really really really good.

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You're gonna love it. But we'll talk about that in

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a moment.

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First up, let's get right into my interview with the

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one and only Nick Castle, who gives us a very

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cool exclusive on the future of the Halloween franchise. Here

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he is Nick Castle. So, is this like your busy

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time of the year. I mean, obviously you're busy all year,

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but is this like an insane time for you?

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Well, you know, I'm not busy all year. I'm a

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retired motion picture director writer and having a wonderful time

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in retirement. But nonetheless, what I do do is go

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do a lot of horror conventions, fan conventions, and especially

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this time of year is very popular. Over the last

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eight weeks, I've gone to six different cities just to

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talk to the fans, and they have a blast with

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this character, signing autographs and masks and knives and all

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times of stuff. So I have the pleasure and the

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privilege of being an ambassador for John's movie and for

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a lot of the other a lot of the other

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films that have been spawned by this character.

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Yeah, I mean, Halloween is such an iconic film, the franchise.

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You know, I'm a huge horror fan. I'm a huge

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Halloween fan. Halloween is my favorite. It's the og for me.

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What is it like to be you know, I mean,

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you are the shape Michael Myers. What is it like

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to be that character in a film that has just

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through decades endured.

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Well, you know, it's pretty funny. Actually, I find it

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ironic because you know, what I'll be remembered for is

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this movie after having done a dozen movies or writing

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of another three or four. But it's so much fun

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because you get to meet the fans at these conventions,

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and that's how I know how beloved in its own

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strange way, this character is meeting people that actually are

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affected by this that their first movie was Halloween, or

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their first horror movie. They sat down with their parents

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and watched it, and they remember it fondly for that,

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so it's almost like a family affair. And of course

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it happens every year. It was brilliantly, you know, titled Halloween.

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So every year around this time, you're reminded not only

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of the season, but of this little movie that was

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done so well that you don't mind going back to

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it over and over again.

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Yeah, and for you, you know, over these decades, when

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you look back nineteen seventy seven, nineteen seventy eight, did

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you ever think that this was going to you know,

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that you'd be talking about at forty some years later.

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Absolutely not. You know, at the time, this was a

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little film that you hoped would get you know, decent

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distribution and that you hope John would get another job.

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From right.

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And within the year it was the largest grossing independent

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film of all time, and especially for the budget was

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was was a crazy reality. And so h no no idea.

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And you've talked about you know, you've talked about the

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film so much. Uh, is there anything that you know

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is little known about you know, a little known fact

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about the film that you haven't maybe been asked about

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or haven't discussed.

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Oh dear, you know, yes, I've Folks like you have

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mined pretty much everything out of this brain. The one

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thing I like to remind people of is the UH

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as a partnership that John had with Deborah Hill, the

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producer and writer of the picture, was no small part

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in making this thing a reality and making it so good.

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She she helped work with the young actresses on the

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set UH and like I said, co wrote it with

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him and was a tremendous talent. Died too young and

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didn't get to have as much as the fun of

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these last decades of how how the movie has grown

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in in fan base exponentially, it seems almost year after year.

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So I tribute just a reminder to folks that there

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was a woman involved with this this show, that that

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had a lot to do with its success.

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I love that so much.

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And you know, Halloween is playing right now and what

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nearly eight hundred theaters across the country. It's not every

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movie that gets that gets a re release, you know,

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like that, especially decades later, is you know for you

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you also did the thing that I love about, you know,

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a franchise like Halloween. Is that then you have different

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takes on it. You know, Rob Zombie did a take

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on it, and and then the recent trilogy from from

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David Gordon Green, which which you were in. Do you

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enjoy seeing the different you know? And then there's there's

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books and games and comic books and all that. Do

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you enjoy seeing the different kind of you know, creative

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takes on the franchise?

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Oh? Yes, I mean, in fact, I wouldn't mind seeing

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more of them. I'd love to see a film do

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an episode each from a great filmmaker to do their

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own Michael Myers like Rob just did, and David Gordon Green,

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you know, he came up with the concepts of doing

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a forty years later one and how they approach it.

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I thought that was magnificently done. And then talking about

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artistic endeavors, there are even books now of people that

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have done artwork that include the movie or the character

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that are just spectaculars that are beautifully done. So the

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movie has inspired a lot of artists and you can

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see it in and when I go, especially when I

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go to these conventions where people will bring posters of

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things that people have made out of, you know, from

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their homes. You know, there's just spectacular work and it's

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it's it's it's really quite remarkable.

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Yeah, yeah, for sure.

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And do you happen to have any any idea where

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you know, is there talk of.

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Bringing another film out?

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Oh? Yeah, I spoke to Malika cod who is the uh,

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the owner of the franchise. Oh. They're busy trying to

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figure out the next next, the next iteration. And of

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course I think he's talked about having a relationship with

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Mery Max and they're thinking maybe TV might be the

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next step. I don't know what that means exactly, but

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that might be the next time you see the Halloween

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world pop out.

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I love that. And originally wasn't.

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John's original idea was to do like each year would

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be It wouldn't be necessarily Michael Myers, but it would

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be a different story taking place on Halloween.

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Is that true?

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That was true? You know. In fact, the third iteration

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of Halloween that John did with Halloween three Season of

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the Witch, which didn't have Michael Myers, had a great story.

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At the time, it didn't work for the audience because

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the promotion of it didn't really explain that this wasn't

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Michael Myers, so everyone was disappointed when they went to

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see it, or many people were, and now years and

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years and years later, having you know that behind him,

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that movie directed by Tommy Lee Wallace is a big

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fan favorite. So yeah, I think if you promoted it right,

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an anthology series about using John as the mastermind of

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the series and promoting it and shaping it would be

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a great way of telling the stories.

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Again, Yeah, for sure.

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Maybe that ties in with, you know, a television type

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thing and then you have Michael Myers whatever each season

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finale or something.

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Hey, there you go. We may steal that idea from it.

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It's yours.

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I just want more Halloween content, Nick, You you know

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you've done so much work. August Rush is a personal favorite.

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I love that film. It's such a meditation for me.

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I believe in music and film and familial familial familial ties.

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Do you find you know you've done such varied work.

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Do you find that as an artist that's kind of

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you know, what kept you going for so long that

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you were able to do a Halloween and then an

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August Rush and a Mister Wrong and that sort of thing.

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Well, sometimes you make your career and sometimes your career

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makes you for John, for instance, he was very clear

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about producing a John Carpenter movie for me, it was like,

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you know, it wasn't as easy as not that it

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was easy, but it didn't fall that way. It was

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like who had the best script, what studio wanted to

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hire me, things of that nature, so that you know,

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you you get this kind of eclectic you know, career

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that that I've had a ball. So it's it's not

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formed into, you know that the kind of world that

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John was able to create, but it's a world that

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I've enjoyed every minute of and and had some great

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luck with doing films that I generated from my own

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little brain to motion pictures that were handed to me

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that I just love the idea. So I've been lucky,

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and now in retirement I can look back and just

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promote my friends' movies like this.

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I love that so much. Nick, Thank you so much.

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People can go to Halloweenportal dot com and get all

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of the information and they can go like me and

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go see Halloween and a few of the sequels as

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well in theaters on the big screen. Thank you so much, Nick,

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I really appreciate it.

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Thank you. Unhappy Halloween. See the folks there.

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Thank you.

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Sarah you as well. Nick Castle. I can't believe I

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talked to Michael Myers. This has been like a dream

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this month. Bruce Campbell, last episode, Michael Myers. You know,

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Nick Castle, this episode just so awesome. I'm like living

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my dream and you guys make it happy and I

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appreciate that and love that from you and for you

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and for me.

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Thank you.

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It's awesome because he directed also like The Last Starfighter,

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which is such a great movie, and Dennis the Menace,

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which was hilarious that came out in What ninety three

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and it had Walter Mathow and Christopher Lloyd in it.

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Like what a cast, Natasha Leone, Lea Thompson. So anyway,

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all right, we're gonna take a super short break, so

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hang out here. So hang out here with me and

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support our sponsors who make this show happen.

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I will see you in sixty all right.

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Thank you for hanging out with me and supporting our

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sponsors who make this show happen every single week and

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bring you amazing interviews like Nick Castle, Michael Freakin Myers

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and this next interview, who I am so excited about

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my next guest has captivated audiences around the globe with

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her incredible talent and charisma. She has empowered people, especially

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women and girls, around the galaxy with her breakout role

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as Ray in the blockbuster Star Wars sequel trilogy, and

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she's proven herself to be a force to be reckoned

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with in Hollywood and beyond. And her new film, Magpie

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is an incredible twisty, turny, hitchcocky and thriller that she

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conceived of herself and now stars in. Let's talk with

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Daisy Ridley. So, first of all, Daisy, thank you so

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much for speaking with me. I really appreciate it. Magpie

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is so good. I love it.

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Thank you, of course.

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So tell me about you. Know, from my understanding, this

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film came from you. The idea for it came while

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you were filming something else, which I think is so meta,

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especially with the film itself.

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How did that come about for you?

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So the actual original idea was a little different to

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where Tom ended up taking it. The original idea was

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if an actress is away from home and destabilized by

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something and does not have the solidity of sort of

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the bedrock of something keeping her feeling calm, I mean

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being away filming anyway, even with all of those things,

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and the stability can be very strange and very isolating

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and offering you're away from home. So the original concept

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was what would an actress do if she became so

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in love with the child that was playing her child

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she tried to infiltrate that family. So that was the

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original idea, And when Tom started working on it, he

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just said he felt really more drawn to the woman

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at home, who is the person who isn't able to

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go and have this amazing experience on set where these

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intimate bonds are formed incredibly quickly and everything feels exciting

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and fresh, and who is she and how is she

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coping with the feeling of being the other woman in

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terms of her child And then of course, coupled with that,

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her husband has a wondering eye.

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Yeah, and so you know, this kind of incubates with

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you and you decide, you know, there's something here that

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I want to do with it. So you took it

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to a producer friend of yours and it kind of

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blossomed from there, right.

268
00:16:36.240 --> 00:16:40.039
Yeah, So me and Tom had already started spitballing and

269
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he had actually written, I mean he wrote incredibly quickly

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because we were so excited about the idea, and particularly

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when he started working on it, and I knew his

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writing anyway, I've read a lot of his other scripts

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which were beautiful. So we pitched it to Kate, who

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I produced the movie with, and she was very interested.

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And then in a way we went, so things you know,

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shifted as we went, but certainly the idea was there,

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and then we knew we wanted a killer ending, and

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then Tom really sculpted that because we had there had

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to be enough layers between everyone, and you had to

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believe those relationships and you had to care about these

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people and what happened in order for us to pull

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that off.

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So all of that was built by him.

284
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I love that And part of what I love is

285
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it so in its own way hitchcocky and almost And

286
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I'm a huge Hitchcock fan.

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Are you? Are you a Hitchcock fan?

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And does that kind of play into when you're doing,

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you know, different projects, especially when you're producing and you're

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you're so involved in the development of is that something

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like you know conscious for you, like, you know, I

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want to kind of do something in this vein or

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that vein.

294
00:18:01.799 --> 00:18:05.279
Well, we had inspirations from the beginning.

295
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One was Tully. This amazing film was Charlie's. Then we

296
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had seen Homecoming, the show with Julia Roberts with that

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very claustrophobic zoom, so there had been references anyway, and

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we really, me and Tom really wanted to make the

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sort of film and we all love all sorts of films,

300
00:18:23.319 --> 00:18:26.160
but something that we would really want to see. So

301
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the genre feeling and that noir feeling was something we

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always wanted. But we were also incredibly lucky to have

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Sam Yer to come on board as director and Laura

304
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Bellingham come on as dop and we had talked about Hitchcock,

305
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and Sam's big inspiration was John Demi and a big

306
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reference with Silus of the Lambs, And so when you

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have amazing people who you trust and there are productions

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outre Amanda mccarth's just phenomenal. So because we had this

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amazing crew, I was able to sit back and then

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be blown away by the work that they were doing.

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And of course we were all involved in those conversations,

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but the minute they started spitballing their ideas together and

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they did the shot list and how they were going

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00:19:09.759 --> 00:19:12.079
to capture it, it was just brilliant and even on

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00:19:12.119 --> 00:19:15.960
set watching scenes come together before they're edited, before anything.

316
00:19:16.400 --> 00:19:18.799
The way Laura was capturing everything was so.

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Gorgeous and gives that feeling of what is going on.

318
00:19:24.960 --> 00:19:26.799
We're seeing things that we shouldn't be seeing, and we're

319
00:19:26.799 --> 00:19:28.920
not seeing things that we should be seeing. Where's that

320
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line and where's the line between what's real and what's not?

321
00:19:32.559 --> 00:19:35.720
But really, yeah, so much of that is down to Laura.

322
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And for you, you know, I'm not sure.

323
00:19:39.359 --> 00:19:42.559
You know, often for those watching or listening, films and

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00:19:42.599 --> 00:19:44.759
projects are filmed out of order, and I'm trying to

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00:19:44.799 --> 00:19:45.480
be as.

326
00:19:46.000 --> 00:19:49.599
Spoiler free as possible. Is it hard for you?

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00:19:50.559 --> 00:19:52.480
And I would assume that's a little bit easier for

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00:19:52.519 --> 00:19:54.039
you since you were involved since the beginning, But is

329
00:19:54.079 --> 00:19:56.720
it hard for you as you're filming, when you're doing

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00:19:56.759 --> 00:19:59.519
sequences out of order to kind of be like, Okay

331
00:20:00.319 --> 00:20:04.160
is in this space for this scene, and then she's

332
00:20:04.160 --> 00:20:05.440
in that space for that scene.

333
00:20:05.440 --> 00:20:06.000
Know what I'm saying.

334
00:20:07.920 --> 00:20:10.359
Yes, certainly we did.

335
00:20:10.400 --> 00:20:13.720
The first chunk of the shoot was all in the house,

336
00:20:14.359 --> 00:20:17.000
but we did it as chronologically as possible, so even

337
00:20:17.039 --> 00:20:19.400
within the hatch, she has an emotional journey of that

338
00:20:19.599 --> 00:20:22.720
real claustrophobic feeling feeling at the beginning and then the

339
00:20:22.799 --> 00:20:24.480
end of the movie where she's a lot more calm

340
00:20:24.519 --> 00:20:28.839
and she is holding the cards at that point. So

341
00:20:29.640 --> 00:20:33.000
there were moments where I can't remember what scene we did.

342
00:20:33.039 --> 00:20:35.720
A big leap we did. We went from seeing them

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I've seen fifty to scene ninety. But also again to

344
00:20:41.079 --> 00:20:43.480
Sam's credit, I mean we talked before every scene about

345
00:20:43.480 --> 00:20:47.640
where Anette was. And having a director you really trust

346
00:20:49.079 --> 00:20:53.759
is fantastic because I also wasn't watching the dailies of myself.

347
00:20:53.799 --> 00:20:55.440
I was only watching the other people do scenes because

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that was something I felt would be too difficult.

349
00:20:57.599 --> 00:21:00.359
So when you trust, people are like, is this coming cross?

350
00:21:00.400 --> 00:21:01.079
Is this the right thing?

351
00:21:04.319 --> 00:21:06.440
Yeah, so there was one time where it was a

352
00:21:06.440 --> 00:21:08.440
bit of a leief and I thought, oh, okay, and

353
00:21:08.480 --> 00:21:10.880
that it is slightly different here.

354
00:21:11.000 --> 00:21:13.720
But the amazing thing is too she is never broken.

355
00:21:14.160 --> 00:21:17.759
She's really beaten and really bruised emotionally, but she's never

356
00:21:17.920 --> 00:21:21.519
broken and the strength and we meet her and Ben

357
00:21:21.599 --> 00:21:24.559
in a difficult time. We never see them as they were.

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We come into their relationship mid difficulty, so we had

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00:21:29.759 --> 00:21:33.000
already established that and from there, I mean, things get

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00:21:33.000 --> 00:21:34.960
worse for a net before they get better. But she

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00:21:35.160 --> 00:21:39.519
always maintains that she has her kids to think about

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00:21:39.559 --> 00:21:43.240
and they're really the motivation for her drive. And because

363
00:21:43.319 --> 00:21:45.440
as well they have these beautiful kids to film with.

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00:21:45.480 --> 00:21:49.000
The hip particular who plays Matilda, she her little face

365
00:21:49.160 --> 00:21:51.640
was such a drive for me too that that kept

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00:21:51.680 --> 00:21:53.400
me centered in it all as well.

367
00:21:53.519 --> 00:21:54.039
I love that.

368
00:21:54.200 --> 00:21:57.519
And finally, you know, and I've asked Robert Pattinson this,

369
00:21:57.640 --> 00:22:01.440
and I've asked Daniel Radcliffe this, When you do you know,

370
00:22:01.480 --> 00:22:03.200
when you do such an icon of character and a

371
00:22:03.319 --> 00:22:07.079
giant franchise like Ray, and then you go and do

372
00:22:07.279 --> 00:22:12.160
these projects that are on the opposite kind of scale, is.

373
00:22:12.079 --> 00:22:15.839
That super fulfilled? Like, like, I feel like as.

374
00:22:15.720 --> 00:22:18.000
A creator, you know, obviously I'm not an actor, but

375
00:22:18.039 --> 00:22:19.759
I feel like as a creator, it kind of like

376
00:22:19.839 --> 00:22:22.359
checks all these marks and the fact that like I

377
00:22:22.400 --> 00:22:25.039
can go and do this giant project and then that

378
00:22:25.119 --> 00:22:28.119
affords me to go and do kind of anything I want.

379
00:22:28.359 --> 00:22:29.440
Do you find that true.

380
00:22:29.240 --> 00:22:33.119
For you in terms of being afforded the privilege?

381
00:22:33.200 --> 00:22:36.400
Absolutely, because I also know without the bigger films, it

382
00:22:36.440 --> 00:22:39.440
would be more difficult to make the smaller films, which

383
00:22:39.440 --> 00:22:42.880
is just the truth of it. But It's interesting in

384
00:22:42.960 --> 00:22:48.400
terms of approach, I feel the same in approaching every role,

385
00:22:50.480 --> 00:22:53.440
and it's certainly different going from shooting one hundred and

386
00:22:53.480 --> 00:22:56.319
forty days to shooting for twenty three days. But I

387
00:22:56.480 --> 00:23:01.240
feel really genuinely blessed with the people that I've got

388
00:23:01.279 --> 00:23:04.680
to work with. And ultimately, art is art, whether it's

389
00:23:05.039 --> 00:23:08.519
your big movie that's going to be seen on an

390
00:23:08.519 --> 00:23:11.359
Imax or a smaller movie that you hope will connect

391
00:23:11.400 --> 00:23:16.720
with people. Either way, you know, you hope that the

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00:23:16.720 --> 00:23:20.359
emotional story will connect. Either way, you hope that the

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00:23:20.480 --> 00:23:24.599
vista of it all will connect, so that in terms

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00:23:24.640 --> 00:23:27.480
of approach it doesn't change. But my hope always is

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I mean that I've become a better actor each time,

396
00:23:29.440 --> 00:23:35.119
to be honest, but also that each film, even if

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it means something to one person, whether it means something

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00:23:37.079 --> 00:23:39.480
to one hundred people or one person, that one person

399
00:23:39.559 --> 00:23:43.480
is as important. So the hope would always be that

400
00:23:43.519 --> 00:23:46.279

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